The Gland Rovers - Hey Neighbor

Ledge Of Love: By far the most supportive person of my songwriting hobby has been my brother, Michael.
He glommed onto the original, feedback-laden Fostex recording of this song that I made on Labor Day Weekend 1987, and decided that his band, The Keltones, should restyle it with a traditional Celtic arrangement (and some killer tremolo guitar, as well) and record it professionally. Thus commenced something of a journey that almost never ended and possibly broke up The Keltones.
I traveled to the U.P. and recorded the basic tracks in a studio, including my bass, Michael’s guitar, and I can’t remember who on drums. I also recorded a scratch vocal which was agreed by all present to be replaced by a better one by a better singer at a later date.
But whose? Michael tried two sets of female singers. His vocal coaching instructions to them were something like “long and sweet and slow and sad.” My future wife even recorded a version for consideration.
The Keltones’ Steve Sleight played fiddle and Tim Clancy the concertina. Michael also overdubbed the drums I think two or three times with different drummers, who were put in the awkward position of having to play in sync to the existing tracks. Jim Simmons, whose studio we were using, sneaked an overdub of tremolo guitar over Michael’s tremolo guitar, inciting Michael. Michael’s obsession with the track was beginning to alienate the other members of the band.
I think the entire project lasted maybe three years. In the end, Michael and the other Keltones decided that my lead vocal laid down at the very outset of the ordeal was the best, and so that’s the one they released on their last CD, “Ledge Of Love.”
Without their permission, I am including it on this collection. Instead of being possibly the weakest track on The Keltones’ CD, it might be the strongest on The Gland Rovers’.
Composed: Summer 1987. Recorded: circa 1994-1997, Marquette, MI
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The Gland Rovers - For Collectors Only
Liner Notes
The songs in this volume all were recorded on a Fostex X-15 four-track multitrack cassette deck between 1990 and 2002. The bulk, however, were recorded between early 1993 and early 1996, a period of substantive personal upheaval and loss for The Gland Rovers. This three-year period saw a marriage end, one serious, live-in relationship dissolve, and my mother die. The material was recorded in five different locales, three of which were my homes over this period. Needless to say, the personal turmoil and coming to grips with mid-life changes are central themes in nearly all of the original songs.
In the early 2010s, I decided to transfer the analog cassette master tapes containing these songs to a digital format using Audacity. I transcribed each of the four tracks in each master sources separately, and then manually synched the audio tracks together. I cleaned up some tape hiss and tried carefully to overcome areas of degradation of the source material.
My guiding principle when starting out was to stay true to the intentions of the original production, while taking only prudent liberties to use the newer digital technology to overcome certain technical limitations of the original four-track cassette format. As such, throughout the album there are instrumental tracks in some songs that are doubled and slightly delayed, to provide more richness and depth. Guitar breaks that had been dubbed onto the same track as the lead vocal were extracted and placed on their own digital track, to be able to mix them more effectively within the entire song.
However it must be admitted that, once knuckles deep in the source material, I couldn’t resist using a few more of the available tools to enhance certain aspects of a few songs. “Radio Dedication” was doctored the most. Some extremely annoying closed high hat fills were painstakingly eliminated and effects applied to the lead vocal. Pitch correction was used sparingly in certain places in that song and some others, although it could be argued that it could have been used wholesale. There are other similar augmentations and fixes that will probably be obvious upon listening.
All of the latest technological advancements cannot step around the fact that these tracks were recorded on a cassette recorder with non-professional grade equipment. The knobs on the “mixing board” were tweaked by non-professionals, and in the original masters some of the choices of performances to “bounce” together to a single track (such as lead vocal together with bass) were regrettably impossible to do much with during the digital remastering. In all, it is pretty obvious that this is not professional output.
With some background about the production out of the way, a few words about the musicianship and songcraft. The Gland Rovers were amateur but enthusiastic musicians. The playing was very much inspired and a pa

Gary McKinnon Он рассказал людям о Космическая программа Секретный пришельцах и НЛО правду. Во вторник в Лондоне с большим информационным шумом был арестован местный житель Гари Маккиннон (Gary McKinnon) 39 лет - безработный системный администратор, проживающий на севере города. Арестовала его британская полиция по запросу правоохранительных органов США. Те установили, что именно Маккиннон в 2001 и 2002 годах осуществил то, что американское военное ведомство - Пентагон - классифицировало как крупнейший взлом военных сетей США за всю историю.
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Gary McKinnon He told the people about Secret Space Program aliens and UFO truth. On Tuesday in London with great information noise was arrested local resident Gary McKinnon (Gary McKinnon) 39 years old - an unemployed system administrator, who lives in the north of the city. British police arrested him at the request of US law enforcement. Those found what McKinnon realized that in the years 2001 and 2002, that the US military - the Pentagon - classified as the biggest hacking US military networks in history.
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My advice is this: Settle! That's right. Don't worry about passion or intense connection. Don't nix a guy based on his annoying habit of yelling "Bravo!" in movie theaters. Overlook his halitosis or abysmal sense of aesthetics. Because if you want to have the infrastructure in place to have a family, settling is the way to go. Based on my observations, in fact, settling will probably make you happier in the long run, since many of those who marry with great expectations become more disillusioned with each passing year. (It's hard to maintain that level of zing when the conversation morphs into discussions about who's changing the diapers or balancing the checkbook.)
Obviously, I wasn't always an advocate of settling. In fact, it took not settling to make me realize that settling is the better option, and even though settling is a rampant phenomenon, talking about it in a positive light makes people profoundly uncomfortable. Whenever I make the case for settling, people look at me with creased brows of disapproval or frowns of disappointment, the way a child might look at an older sibling who just informed her that Jerry's Kids aren't going to walk, even if you send them money. It's not only politically incorrect to get behind settling, it's downright un-American. Our culture tells us to keep our eyes on the prize (while our mothers, who know better, tell us not to be so picky), and the theme of holding out for true love (whatever that is—look at the divorce rate) permeates our collective mentality.
Even situation comedies, starting in the 1970s with The Mary Tyler Moore Show and going all the way to Friends, feature endearing single women in the dating trenches, and there's supposed to be something romantic and even heroic about their search for true love. Of course, the crucial difference is that, whereas the earlier series begins after Mary has been jilted by her fiancé, the more modern-day Friends opens as Rachel Green leaves her nice-guy orthodontist fiancé at the altar simply because she isn't feeling it. But either way, in episode after episode, as both women continue to be unlucky in love, settling starts to look pretty darn appealing. Mary is supposed to be contentedly independent and fulfilled by her newsroom family, but in fact her life seems lonely. Are we to assume that at the end of the series, Mary, by then in her late 30s, found her soul mate after the lights in the newsroom went out and her work family was disbanded? If her experience was anything like mine or that of my single friends, it's unlikely.
And while Rachel and her supposed soul mate, Ross, finally get together (for the umpteenth time) in the finale of Friends, do we feel confident that she'll be happier with Ross than she would have been had she settled down with Barry, the orthodontist, 10 years earlier? She and Ross have passion but have never had long-term stability, and the fireworks she experiences with him but not with Barry might actually turn out to be a liability, given how many times their relationship has already gone up in flames. It's equally questionable whether Sex and the City's Carrie Bradshaw, who cheated on her kindhearted and generous boyfriend, Aidan, only to end up with the more exciting but self-absorbed Mr. Big, will be better off in the framework of marriage and family. (Some time after the breakup, when Carrie ran into Aidan on the street, he was carrying his infant in a Baby Björn. Can anyone imagine Mr. Big walking around with a Björn?)

I don't own any of this. // Please avoid the spoilers.
I can't (re)upload the rest of the season because of the copyright.
You can find all the songs of this episode on http://www.e4.com/skins/music/series4/tracklists.html
Thanks for watching. Xoxo

Hey Neighbor: Written and recorded maybe the weekend before “The Real Thing.” I had the chord progression around for about a year before I found the words to express the unfathomable shock, hurt, and anger I felt upon finding out about the next girlfriend’s dalliance with another Lansingite.

I was pleased with the way that Part A tells one story while Part B tells another until the stories meet head-on at the end. I sat one Saturday morning during my leave of absence at my own kitchen table and hammered out the words. Then I got a six pack of beer, set up the Fostex on the gas range, and recorded it right there in the kitchen. All in one day.

The songs in this volume all were recorded on a Fostex X-15 four-track multitrack cassette deck between 1990 and 2002. The bulk, however, were recorded between early 1993 and early 1996, a period of substantive personal upheaval and loss for The Gland Rovers. This three-year period saw a marriage end, one serious, live-in relationship dissolve, and my mother die. The material was recorded in five different locales, three of which were my homes over this period. Needless to say, the personal turmoil and coming to grips with mid-life changes are central themes in nearly all of the original songs.

In the early 2010s, I decided to transfer the analog cassette master tapes containing these songs to a digital format using Audacity. I transcribed each of the four tracks in each master sources separately, and then manually synched the audio tracks together. I cleaned up some tape hiss and tried carefully to overcome areas of degradation of the source material.

My guiding principle when starting out was to stay true to the intentions of the original production, while taking only prudent liberties to use the newer digital technology to overcome certain technical limitations of the original four-track cassette format. As such, throughout the album there are instrumental tracks in some songs that are doubled and slightly delayed, to provide more richness and depth. Guitar breaks that had been dubbed onto the same track as the lead vocal were extracted and placed on their own digital track, to be able to mix them more effectively within the entire song.

However it must be admitted that, once knuckles deep in the source material, I couldn’t resist using a few more of the available tools to enhance certain aspects of a few songs. “Radio Dedication” was doctored the most. Some extremely annoying closed high hat fills were painstakingly eliminated and effects applied to the lead vocal. Pitch correction was used sparingly in certain places in that song and some others, although it could be argued that it could have been used wholesale. There are other similar augmentations and fixes that will probably be obvious upon listening.

All of the latest technological advancements cannot step around the fact that these tracks were recorded on a cassette recorder with non-professional grade equipment. The knobs on the “mixing board” were tweaked by non-professionals, and in the original masters some of the choices of performances to “bounce” together to a single track (such as lead vocal together with bass) were regrettably impossible to do much with during the digital remastering. In all, it is pretty obvious that this is not professional output.

With some background about the production out of the way, a few words about the musicianship and songcraft. The Gland Rovers were amateur but enthusiastic musicians. The playing was very much inspired and a part of the “DIY” ethos prevalent in alternative rock music in the early ‘90s. Except for a few tracks, a real drummer or even a real drum is not to be found. As The Gland Rovers had no drummer, they used drum machines or drum settings on cheap electronic keyboards. The rhythm of one track is knocked out against the bottom of a kitchen garbage pail. The vocals sometimes stray in pitch, something that sounds particularly galling in an era faithfully reliant on AutoTune but that sounds fully in context with other songs from the alt rock scene of the early ‘90s.

What I hope you will hear emerging through the muddy production and amateurish playing are some fairly competent songwriting and interesting arrangements. They are the only reasons I bothered to pursue this project.